Ansel Adams
1902 - 1984
 

Ansel Adams was not only a masterful photographic technician but a lifelong conservationist who pleaded for understanding of, and respect for, the natural environment. Although he spent a large part of his career in commercial photography, he is best known for his majestic landscape photographs.

Ansel Easton Adams was born on February 20, 1902, in San Francisco, California, near the Golden Gate Bridge. His father, a successful businessman, sent his son to private, as well as public, schools; beyond such formal education, however, Adams was largely self-taught.

His earliest aspiration was to become a concert pianist, but he turned to photography in the late teens of the century; a trip to Yosemite National Park in 1916, where he made his first amateurish photos, is said to have determined his direction in life. Subsequently, he worked as photo technician for a commercial firm.

He joined the Sierra Club in 1919 and worked as a caretaker in their headquarters in Yosemite Valley. Later in life, from 1936 to 1970, Adams was president of the Sierra Club, one of the many distinguished positions that he held.

Ansel Adams decided to become a full time professional photographer at about the time that some of his work was published in limited edition portfolios, one entitled Parmelian Prints of the High Sierras (1927) and the other, Taos Pueblo (1930), with a text written by Mary Austin.

His first important one-man show was held in San Francisco in 1932 at the M. H. de Young Memorial Museum. Subsequently, he opened the Ansel Adams Gallery for the Arts, taught, lectured, and worked on advertising assignments in the San Francisco area; during the 1930s he also began his extensive publications on the craft of photography, insisting throughout his life on the importance of meticulous craftsmanship. In 1936 Alfred Stieglitz gave Adams a one-man show in his New York gallery, only the second of the work of a young photographer (in 1917 Paul Strand was the first) to be exhibited by Stieglitz.

In 1937 Adams moved to Yosemite Valley close to his major subject and began publishing a stream of superbly produced volumes including Sierra Nevada: The John Muir Trail (1938); Illustrated Guide to Yosemite Valley (1940); Yosemite and the High Sierra (1948); and My Camera in Yosemite Valley (1949).

In 1930 Adams met the venerable Paul Strand while they were working in Taos, New Mexico, and the man and his work had a lasting effect on Adams' approach to photography by shifting his approach from a soft formulation of subjects to a much clearer, harder treatment, so-called "straight photography." This orientation was further reinforced by his association with the shortlived, but influential, group which included Edward Weston and Imogen Cunningham and called itself f/64, referring to the lens opening which virtually guarantees distinctness of image.

Throughout much of his early career Adams worked both on commercial assignments and in pursuit of his own vision. He saw no inherent conflict between the two approaches since, as he affirmed, "I don't have any idea that commercialism or professionalism is on one side of the fence and the creative side is on the other. They're both interlocked."

In one sense Ansel Adams' work is an extensive documentation of what is still left of the wilderness, the dwindling untouched segment of the natural environment. Yet to see his work only as documentary is to miss the main point that he tried to make: without a guiding vision, photography is a trivial activity. The finished product, as Adams saw it, must be visualized before it is executed; and he shared with 19th century artists and philosophers the belief that this vision must be embedded within the context of life on earth. Photographs, he believed, are not taken from the environment but are made into something greater than themselves.

During his life, Ansel Adams was criticized for photographing rocks while the world was falling apart; he responded to the criticism by suggesting that "the understanding of the inanimate and animate world of nature will aid in holding the world of man together."

Adams, Ansel, American photographer, best known for his landscapes of the American West, although his legacy also includes portraits and documentary work, and writings on photographic technique.

Born in San Francisco, Adams took his first photographs on visiting Yosemite in 1916, aged 14; he later set up a studio there, and photographed extensively in the Sierra Nevada. In the 1920s his photographs were included in exhibitions mounted by the conservationist Sierra Club. His first major solo show was at the Smithsonian Institution, Washington, DC, in 1931. The first of many books (including eventually his journals, letters, and memoirs) appeared in 1930: Taos Pueblo, a study of a New Mexico Indian community produced with the writer Mary Austin.

Adams's landscapes stemmed both from his fascination with the natural environment, and from his conception of it as a space of spiritual redemption. In the face of intensifying exploitation, indeed desecration, of the West in the 20th century, his images reflected a commitment to conservation. He photographed at different times and seasons, exploring the effects of changing patterns and intensities of light. The resulting pictures are remarkable in terms of composition, tonal contrast, registration of detail, and printing quality.

Adams initially trained as a pianist, a discipline echoed in his emphasis on tone, rhythm, and technical proficiency, and explicitly invoked in his famous analogies between the negative and the musical score, and between the print and interpretation through performance. His contribution to photographic method stemmed from his insistence on visualization and control of the photographic process from framing and exposure to printing. His technical publications included The Complete Photographer (1942) and a five-volume series (1948-56) on Camera and Lens, The Negative, The Print, Natural Light Photography, and Artificial Light Photography. He devised the Zone System for determining exposure and emphasized the relationship between the quality of the negative and the potential for producing a fine print. He worked almost exclusively in monochrome, though later experimenting with colour.

Adams was a founding member of the anti- pictorialist f.64 Group dedicated to ‘pure’ photography. His aesthetic preferences changed over time, his later prints offering markedly more tonal contrast than earlier examples. In the 2002 retrospective his celebrated Moonrise over Hernandez (1941) was shown in three different versions, increasingly dramatic in tone. In considering provenance, not only subject matter and style but also the date of a particular print is significant.

Although Adams remains a towering figure in the history of American photography, with prices to match, his visionary interpretation of the Western landscape was eventually challenged by younger photographers associated with the 1975 New Topographics exhibition, who concentrated on the impact of human activity on the land.

 

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Ansel Easton Adams (February 20, 1902 – April 22, 1984) was an American photographer and environmentalist, best known for his black-and-white photographs of the American West and primarily Yosemite National Park.

For his images, he developed the zone system of photography, a way to calculate the proper exposure of a photograph. The resulting clarity and depth were characteristic of his photographs. His crystal clear images were also the result of his using the large format 8×10” film camera, which provided a maximum resolution, although it was among the most difficult cameras to use due to its large size, weight, set-up time, and film cost. However, it was typical of the lengths he would go to achieve his vision of perfection.

He founded the Group f/64 along with fellow photographers Edward Weston and Imogen Cunningham, which was responsible for the founding of the Museum of Modern Art's department of photography. Adams' timeless and visually stunning photographs are constantly reproduced on calendars, posters, and in books, making his photographs widely recognizable. And as a result, his images are among the most significant and familiar contributions to the history of photography.


Life

Childhood

Adams was born in the Western Addition of San Francisco, California, to distinctly upper-class parents Charles and Olive Adams. He was an only child and was named after his uncle Ansel Easton. The Adams family came from New England, having migrated from the north of Ireland in the early 1700s but were not connected with the Presidential Adams family. His grandfather founded and built a prosperous lumber business, which his father later ran, though his father’s natural talents lay more with sciences than with business. Later in life, Adams would condemn that very same industry for cutting down many of the great redwood forests.

His mother’s family came from Baltimore and his maternal grandfather had a successful freight-hauling business but squandered his wealth in failed mining and real estate ventures in Nevada.

Ansel Adams was born in his parents' bed. When he was four years old, he was tossed face-first into a garden wall during an aftershock from the 1906 San Francisco earthquake, breaking his nose. Among his earliest memories was watching the ensuing fire that destroyed much of the city a few miles away. His left-leaning broken nose was never corrected and remained crooked for his entire life.

Adams was a hyperactive child and prone to frequent sickness. He had few friends but his family home and surroundings on the heights facing San Francisco Bay provided ample childhood activities. He hadn’t the patience for games or sports but the curious child took to nature at an early age, collecting bugs and exploring the nearby beach. His father bought a telescope and they shared the hobby enthusiastically. His parents raised him to follow the ideas of Ralph Waldo Emerson, to live a modest, moral life guided by a social responsibility to man and to nature.

After the death of his grandfather and the aftermath of the Panic of 1907, his father’s business suffered great financial losses and by 1912, the family’s standard of living had dropped sharply. After young Ansel was dismissed from several private schools for his restlessness and inattentiveness, his father decided to pull him out of school in 1915, at the age of 12. Adams was then educated by private tutors, his Aunt Mary, and by his father. During the Panama-Pacific International Exposition in 1915, his father insisted that, as part of his education, Adams spend a good part of each day studying the exhibits. After a while, Adams resumed and then completed his formal education by attending another private school until eighth grade.

Music became the main focus of his later youth. Possessing a photographic memory, Adams quickly learned to read music and play the piano. Through a series of dedicated piano teachers, the regime of grueling piano exercises and strict discipline quieted his hyperactivity and his musical skills blossomed. Music also provided the channeled emotional outlet he had craved. He applied himself seriously toward becoming a concert pianist.

Adams first visited Yosemite National Park in 1916 with his family. The famous valley was the first place in the United States to be designated a protected nature area by a Congressional act, signed by Abraham Lincoln in 1864. He wrote of his first view of the valley which so inspired him, “the splendor of Yosemite burst upon us and it was glorious...One wonder after another descended upon us...There was light everywhere...A new era began for me." His father gave him his first camera, a Kodak Brownie box camera, during that stay and he took his first photographs with his “usual hyperactive enthusiasm”.[He returned to Yosemite on his own the following year with better cameras and a tripod. In the winter, he learned basic darkroom technique working part-time for a San Francisco photo finisher. Adams avidly read photography magazines, attended camera club meetings, and went to photography and art exhibits. With his Uncle Frank he explored the High Sierra, in summer and winter, developing the stamina and skill needed to photograph at high altitude and under difficult weather conditions.

While in Yosemite, he had frequent contact with the Best family, owners of Best's Studio, who allowed him to practice on their old square piano. In 1928, Ansel Adams married Virginia Best in Best's Studio in Yosemite Valley. Virginia inherited the studio from her artist father on his death in 1935, and the Adams continued to operate the studio until 1971. The studio, now known as the Ansel Adams Gallery, remains in the hands of the Adams family.

At age 17, Adams joined the Sierra Club, a group dedicated to preserving the natural world's wonders and resources, and he was the custodian of the organization’s headquarters at Yosemite, for four years. He remained a member throughout his lifetime and served as a director, as did his wife. Adams participated in the club's annual "high trips", and was later responsible for several first ascents in the Sierra Nevada. During 1919, he contracted the lethal influenza which ravaged the world and fell seriously ill but recovered after several months to resume his outdoor life.

During his twenties, most of his friends came from musical connections, particularly violinist and amateur photographer Cedric Wright, who became his best friend as well as his philosophical and cultural mentor. Their shared philosophy came from Edward Carpenter’s Toward Democracy, a literary work which espoused the pursuit of beauty in life and art. Adams always carried a pocket edition with him while at Yosemite. It soon became his personal philosophy as well, as Adams later stated, “I believe in beauty. I believe in stones and water, air and soil, people and their future and their fate.” He decided that the purpose of his art from now on, whether photography or music, was to reveal that beauty to others and to inspire them to the same calling.

In summer, Adams would enjoy a life of hiking, camping, and photographing, and the rest of the year he worked to improve his piano playing, expanding his piano technique and musical expression. He also gave piano lessons to make some income, finally affording a grand piano suitable to his musical ambitions. His first photographs were published in 1921 and Best’s Studio began selling his Yosemite prints the following year. His early photos already showed careful composition and sensitivity to tonal balance. In letters and cards to family, he also expresses his daring to climb to the best view points and brave the worst elements. At this point, however, Adams was still planning a career in music, even though his small hands, easily bruised by bravura playing, limited his repertoire to practiced works which benefited from his strengths of fine touch and excellent musicality. It took seven more years, though, for Adams to finally concede that at best he might become a concert pianist of limited range, an accompanist, or a piano teacher.

In the mid-1920s, Adams experimented with soft-focus, etching, bromoil, and other techniques of the pictorial photographers, such as Photo-Secession leader Alfred Stieglitz who strived to emulate Impressionism and tried to put photography on an equal artistic plane with painting by trying to mimic it. However, Adams steered clear of hand-coloring which was also popular at the time. Adams used a variety of lenses to get different effects, but eventually rejected pictorialism for a more realist approach which relied more heavily on sharp focus, heightened contrast, precise exposure, and darkroom craftsmanship.


Career

In 1927, Adams contracted for his first portfolio, in his new style, which included his famous image Monolith, the vertical western face of Half Dome taken with his Korona view camera utilizing glass plates and a dark red filter (to heighten the tonal contrasts). On that excursion, he had only one plate left and he “visualized” the effect of the blackened sky before risking the last shot. As he wrote, “I had been able to realize a desired image: not the way the subject appeared in reality but how it felt to me and how it must appear in the finished print”. As he wrote confidently in April, 1927, “My photographs have now reached a stage when they are worthy of the world’s critical examination. I have suddenly come upon a new style which I believe will place my work equal to anything of its kind.”

With the sponsorship and promotion of Albert Bender, an arts-connected businessman, Adams’s first portfolio was a success (earning nearly $4,000) and soon he received commercial assignments to photograph the wealthy patrons who bought his portfolio. Adams also came to understand how important it was that his carefully crafted photos were reproduced to best effect. At Bender’s invitation, he joined the prestigious Roxburghe Club, an association devoted to fine printing and high standards in book arts. He learned much about printing techniques, inks, design, and layout which he later applied to other projects. Unfortunately, at that time, most of his darkroom work was still being done in the basement of his parent’s home, and he was somewhat limited by barely adequate equipment.

After a cooling off period with Virginia Best during 1925–6, during which he had short-lasting relationships with various women, many of them students of his mentor Cedric Wright, he married Virginia in 1928. The newlyweds moved in with his parents to save expenses. His marriage also marked the end of his serious attempt at a musical career, as well as her ambitions to be a classical singer.

Between 1929 and 1942, Adams’ works became more mature and he became more established. In the course of his 60-year career, the 1930s were a particularly productive and experimental time. Adams expanded his works, focusing on detailed close-ups as well as large forms from mountains to factories. In 1930 Taos Pueblo, Adams second portfolio, was published with text by writer Mary Austin. In New Mexico, he was introduced to notables from Stieglitz’s circle, including wife Georgia O’Keeffe, artist John Marin, and photographer Paul Strand, all of whom created famous works during their stays in the Southwest. Adams’s talkative, high-spirited nature combined with his excellent piano playing made him a hit within his enlarging circle of elite artist friends. Strand especially proved influential, sharing secrets of his technique with Adams, and finally convincing Adams to pursue photography with all his talent and energy. One of Strand’s suggestions which Adams immediately adopted was to use glossy paper rather than matte to intensify tonal values.

Through a friend with Washington connections Adams was able to put on his first solo museum exhibition at the Smithsonian Institution in 1931, featuring 60 prints taken in the High Sierra. He received an excellent review from the Washington Post, “His photographs are like portraits of the giant peaks, which seem to be inhabited by mythical gods”. Despite his success, Adams felt he was not yet up to the standards of Strand. He decided to broaden his subject matter to include still life and close-up photos, and to achieve higher quality by “visualizing” each image before taking it. He emphasized the use of small apertures and long exposures in natural light, which created sharp details with a wide range of focus, as demonstrated in Rose and Driftwood (1933), one of his finest still-life photographs.

In 1932, Adams had a group show at the M. H. de Young Museum with Imogen Cunningham and Edward Weston and they soon formed Group f/64, which espoused “pure or straight photography” over pictorialism (f/64 being a very small aperture setting that gives great depth of field). The group’s manifesto stated that “Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form”. In reality, “pure photography” did borrow from some of the established principles of painting, especially compositional balance and perspective, and some manipulation of subject and effect. By these standards, not only were “soft focus” lenses prohibited but Adams earlier photo “Monolith”, which used a strong red filter to create a black sky, would have been considered unacceptable.

Following Stieglitz’s example, in 1933 Adams opened his own art and photography gallery in San Francisco which eventually became the Danysh Gallery after Adams commitments grew too burdensome. Adams also began to publish essays in photography magazines and wrote his first instructional book Making a Photograph in 1935. During the summers, he often participated in Sierra Club outings, as a paid photographer for the group, and the rest of the year a core group of the Club members socialized regularly in San Francisco. During 1933, his first child Michael was born, followed by Anne two years later.

During the 1930s, many photographers including Dorothea Lange and Walker Evans believed they had a social obligation to reveal the harsh times of the Depression through their art. Mostly resistant to the “art for life’s sake” movement, Adams did begin in the 1930s to deploy his photographs in the cause of wilderness preservation. In part, he was inspired by the increasing desecration of Yosemite Valley by commercial development, including a pool hall, bowling alley, golf course, shops, and automobile traffic. He created a limited-edition book in 1938, Sierra Nevada: The John Muir Trail, as part of the Sierra Club's efforts to secure the designation of Sequoia and Kings Canyon as national parks. This book and his testimony before Congress played a vital role in the success of the effort, and Congress designated the area as a National Park in 1940.

In 1935, Adams created many new photos of the Sierra and one of his most famous photographs, Clearing Winter Storm, captured the entire valley just as a winter storm relented, leaving a fresh coat of snow. After courting Stieglitz for three years, Adams gathered his recent work and had a solo show at the Stieglitz gallery “An American Place” in New York in 1936. The exhibition proved successful with both the critics and the buying public, and earned Adams strong praise from the revered Stieglitz. During the balance of the 1930s, Adams took on many commercial assignments to supplement the income from the struggling Best’s Studio. Until the 1970s, Adams was dependent on commercial projects to make ends meet. Some of his clients included Kodak, Fortune magazine, Pacific Gas and Electric, AT&T, and the American Trust Company. In 1939, he was named an editor of U.S. Camera, the most popular photography magazine at that time.

In 1940, Ansel put together A Pageant of Photography, the most important and largest photography show in the West to date, attended by millions of visitors. With his wife, Adams completed a children’s book and the very successful Illustrated Guide to Yosemite Valley during 1940 and 1941. Adams also began his first serious stint of teaching in 1941 at the Art Center School of Los Angeles, which included the training of military photographers. In 1943, Adams had a camera platform mounted on his car, to afford him a better vantage point over the immediate foreground and a better angle for expansive backgrounds. Most of his landscapes from that time forward were made from his car rather than from summits reached by rugged hiking, as in his earlier days.

On a trip in New Mexico weeks before the attack on Pearl Harbor in 1941, Adams shot a scene of the Moon rising above a modest village with snow-covered mountains in the background, under a dominating black sky. The photograph is one of his most famous and is named, Moonrise, Hernandez, New Mexico. The photograph’s fame was probably enhanced by Adams’s description in his later books of how it was made: the light on the crosses in the foreground was rapidly fading, and he could not find his exposure meter; however, he remembered the luminance of the Moon, and used it to calculate the proper exposure. Adams’s earlier account was less dramatic, stating simply that the photograph was made after sunset, with exposure determined using his Weston Master meter. However the exposure was actually determined, the foreground was underexposed, the highlights in the clouds were quite dense, and the negative proved difficult to print. Over nearly 40 years, Adams re-interpreted the image, his most popular by far, using the latest darkroom equipment at his disposal, making over 1300 unique prints, most in 16? by 20? format. Many of the prints were made in the 1970s, finally giving Adams financial independence from commercial projects. The total value of these original prints exceeds $25,000,000; the highest price paid for a single print reached $609,600 at Sotheby's New York auction in 2006.

In September 1941, Adams contracted with the Department of the Interior to make photographs of National Parks, Indian reservations, and other locations for use as mural-sized prints for decoration of the Department’s new building. Part of his understanding with the Department was that he might also make photographs for his own use, using his own film and processing. Although Adams kept meticulous records of his travel and expenses, he was less disciplined about recording the dates of his images, and neglected to note the date of Moonrise, so it was not clear whether it belonged to Adams or to the U.S. Government. But the position of the Moon allowed the image to eventually be dated from astronomical calculations, and it was determined that Moonrise was made on November 1, 1941, a day for which he had not billed the Department, so the image belonged to Adams. The same was not true for many of his other negatives, including The Tetons and the Snake River, which, having been made for the Mural Project, became the property of the U.S. Government.

Adams was distressed by the Japanese American Internment that occurred after the Pearl Harbor attack. He requested permission to visit the Manzanar War Relocation Center in the Owens Valley, at the foot of Mount Williamson. The resulting photo-essay first appeared in a Museum of Modern Art exhibit, and later was published as Born Free and Equal: The Story of Loyal Japanese-Americans. He also contributed to the war effort by doing many photographic assignments for the military, including making prints of secret Japanese installations in the Aleutians. Adams was the recipient of three Guggenheim fellowships during his career, the first in 1946 to photograph every National Park. This series of photographs produced memorable images of “Old Faithful Geyser”, Grand Teton, and Mount McKinley.

In 1945, Adams was asked to form the first fine art photography department at the California School of Fine Arts (CSFA). Adams invited Dorothea Lange, Imogen Cunningham and Minor White to become faculty members.

In 1952 Adams was one of the founders of the magazine Aperture, which was intended as a serious journal of photography showcasing its best practitioners and newest innovations. He was also a contributor to Arizona Highways, a photo-rich travel magazine which continues today. His article on Mission San Xavier del Bac, with text by longtime friend Nancy Newhall, was enlarged into a book published in 1954. This was the first of many collaborations with her. In June 1955, Adams began his annual workshops, teaching thousands of students until 1981.

By the 1950s, Adams came to believe that he was on the down side of his creative life. He continued with commercial assignments for another twenty years and became a consultant on a monthly retainer for Polaroid Corporation, founded by good friend Edwin Land. He made thousands of photographs with Polaroid products, El Capitan, Winter, Sunrise (1968) being the one he considered his most memorable. In the final twenty years of his life, the Hasselblad was his camera of choice, with Moon and Half Dome (1960) being his favorite photo made with that brand of camera.

In March 1963, Ansel Adams and Nancy Newhall accepted a commission from Clark Kerr, the President of the University of California, to produce a series of photographs of the University's campuses to commemorate its centennial celebration. The collection, titled Fiat Lux after the University's motto, was published in 1967 and now resides in the Museum of Photography at the University of California, Riverside.

In 1974, Adams had a major retrospective exhibition at the Metropolitan Museum of Art. Much of his time during the 1970s was spent curating and re-printing negatives from his vault, in part to satisfy the great demand of art museums which had finally created departments of photography and desired his iconic works. He also devoted his considerable writing skills and prestige to the cause of environmentalism, focusing particularly on the Big Sur coastline of California and the protection of Yosemite from over-use. President Carter commissioned Adams to make the first official portrait of a president made by a photograph.


Contributions and influence

Romantic landscapists Albert Bierstadt and Thomas Moran portrayed the Grand Canyon and Yosemite at the end of their reign, and were subsequently displaced by daredevil photographers Carleton Watkins, Eadweard Muybridge, and George Fiske. But it was Adams' black-and-white photographs of the West which became the foremost record of what many of the National Parks were like before tourism, and his persistent advocacy helped expand the National Park system. He skillfully used his works to promote many of the goals of the Sierra Club and of the nascent environmental movement, but always insisted that, as far as his photographs were concerned, “beauty comes first”. His stirring images are still very popular in calendars, posters, and books.

Realistic about development and the subsequent loss of habitat, Adams advocated for balanced growth, but was pained by the ravages of “progress”. He stated, “We all know the tragedy of the dustbowls, the cruel unforgivable erosions of the soil, the depletion of fish or game, and the shrinking of the noble forests. And we know that such catastrophes shrivel the spirit of the people…The wilderness is pushed back, man is everywhere. Solitude, so vital to the individual man, is almost nowhere.”

Adams co-founded Group f/64 with other masters like Edward Weston, Willard Van Dyke, and Imogen Cunningham. With Fred Archer, he pioneered the zone system, a technique for translating perceived light into specific densities on negatives and paper, giving photographers better control over finished photographs. Adams also advocated the idea of visualization (which he often called ‘previsualization’, though he later acknowledged that term to be a redundancy) whereby the final image is “seen” in the mind’s eye before taking the photo, toward the goal of achieving all together the aesthetic, intellectual, spiritual, and mechanical effects desired. He taught these and other techniques to thousands of amateur photographers through his publications and his workshops. His many books about photography, including the Morgan & Morgan Basic Photo Series (The Camera, The Negative, The Print, Natural Light Photography, and Artificial Light Photography) have become classics in the field.

He was elected in 1966 a fellow of the American Academy of Arts and Sciences. In 1980 Jimmy Carter awarded him the Presidential Medal of Freedom, the nation's highest civilian honor.
The Tetons and the Snake River (1942)

Adams's photograph The Tetons and the Snake River has the distinction of being one of the 115 images recorded on the Voyager Golden Record aboard the Voyager spacecraft. These images were selected to convey information about humans, plants and animals, and geological features of the Earth to a possible alien civilization. These photographs eloquently mirror his favorite saying, a Gaelic mantra, which states “I know that I am one with beauty and that my comrades are one. Let our souls be mountains, Let our spirits be stars, Let our hearts be worlds.”

His lasting legacy includes helping to elevate photography to an art comparable with painting and music, and equally capable of expressing emotion and beauty. As he reminded his students, “It is easy to take a photograph, but it is harder to make a masterpiece in photography than in any other art medium”.

"Ansel Adams," wrote John Szarkowski, of the N.Y. Museum of Modern Art, "attuned himself more precisely than any photographer before him to a visual understanding of the specific quality of the light that fell on a specific place at a specific moment. For Adams the natural landscape is not a fixed and solid sculpture but an insubstantial image, as transient as the light that continually redifines it. This sensibility to the specificity of light was the motive that forced Adams to develop his legendary photographic technique."


Death

Ansel Adams died on April 22, 1984, at age 82 from heart failure aggravated by cancer. When he died he left behind his wife, two children (Michael born August 1933, Anne born 1935) and five grandchildren.

Publishing rights for the Adams' photographs are handled by the trustees of The Ansel Adams Publishing Rights Trust.

The Minarets Wilderness in the Inyo National Forest was renamed the Ansel Adams Wilderness in 1985 in his honor. Mount Ansel Adams, an 11,760 ft (3,580 m) peak in the Sierra Nevada, was named for him in 1985.

The full archive of Ansel Adams' work is located at the Center for Creative Photography (CCP) at the University of Arizona in Tucson.

John Szarkowski states in the introduction to Ansel Adams: Classic Images (1985, p. 5), "The love that Americans poured out for the work and person of Ansel Adams during his old age, and that they have continued to express with undiminished enthusiasm since his death, is an extraordinary phenomenon, perhaps even unparalleled in our country's response to a visual artist".

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